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The challenge in rendering human skin images involves three levels of realism: photo realism in resembling real skin at the static level; physical realism in resembling its movements and functional realism in resembling its response to actions.
Not only do animated images form part of computer-generated imagery, natural looking landscapes, such as fractal landscapes are also generated via computer algorithms. A simple way to generate fractal surfaces is to use an extension of the triangular mesh method, relying on the construction of some special case of a de Rham curve, e.g. midpoint displacement. For instance, the algorithm may start with a large triangle, then recursively zoom in by dividing it into 4 smaller Sierpinski triangles, then interpolate the height of each point from its nearest neighbors. The creation of a Brownian surface may be achieved not only by adding noise as new nodes are created, but by adding additional noise at multiple levels of the mesh. Thus a topographical map with varying levels of height can be created using relatively straightforward fractal algorithms. Some typical, and easy to program fractals used in CGI are the plasma fractal and the more dramatic fault fractal.
Models of cloth generally fall into three groups: the geometric-mechanical structure at yarn crossings, secondly the mechanics of continuous elastic sheets and thirdly the geometric macroscopic features of cloth. To date, making the clothing of a digital character automatically fold in a natural way remains a challenge for many animators.
The term computer animation refers to dynamic CGI rendered as a movie. The term virtual world refers to agent-based, interactive environments.
In some applications, computer-generated images are used to "reverse engineer" historical buildings. For instance, a computer-generated reconstruction of the monastery at Georgenthal in Germany was derived from the ruins of the monastery, yet provides the viewer with a "look and feel" of what the building would have looked like in its day.

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